For 463 reviews, this critic has graded:
  • 57% higher than the average critic
  • 6% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 1.9 points lower than other critics. (0-100 point scale)

Robert Lloyd's Scores

  • TV
Average review score: 63
Highest review score: 100 The Returned: Season 1
Lowest review score: 20 Twenty Good Years: Season 1
Score distribution:
  1. Negative: 22 out of 463
463 tv reviews
    • 93 Metascore
    • 100 Robert Lloyd
    As did the six previous episodes, the new installments generate a tension so awful, from circumstances so awfully lifelike, that you have to watch at times from behind laced fingers, with teeth clenched and the remote control close at hand.
    • 98 Metascore
    • 100 Robert Lloyd
    It integrates the boredom, self-delusion, dashed hopes and struggle for power into something bigger, and potentially better, and functions not only as a continuation of the story but a convincing conclusion.
    • 96 Metascore
    • 100 Robert Lloyd
    Given the extravagances of the plot and the characters, that it feels plausibly seated in the real world is a testament to everyone involved in its production. But it is especially due to the actors.
    • 92 Metascore
    • 100 Robert Lloyd
    To my mind, it's the best series of the fall, and with the tonally similar "Top of the Lake," possibly of the year.
    • 87 Metascore
    • 100 Robert Lloyd
    True Detective runs slow and steady without ever seeming to drag. Even minor characters get room to breathe, and seem independently alive; the briefest scenes seem to imply life beyond the frame.... The dance [Matthew McConaughey and Woody Harrelson] do together here is work of a very high order, and all the reason you need to watch.
    • 89 Metascore
    • 90 Robert Lloyd
    For all its willful outrageousness, Arrested Development is sort of gripping -- a continuing story that one actually wants to see continue, which is more than can be said of most of the new dramas the season produced. [31 Oct 2003, p.E1]
    • 81 Metascore
    • 90 Robert Lloyd
    At once more modest and more ambitious than its predecessor; more focused on detail and yet more expansive. It is also excruciatingly funny, with an emphasis on excruciating.
    • 69 Metascore
    • 90 Robert Lloyd
    The domestic version... is every bit as good as the original.
    • 75 Metascore
    • 90 Robert Lloyd
    In its emphasis on character over plot it reminds me of movies from the pre-Spielberg '70s, and is in so many ways what I want from television that I feel almost like phoning each of you personally to deliver the news.
    • 77 Metascore
    • 90 Robert Lloyd
    What is remarkable about "Life Support" is how it avoids every pitfall of the standard issue-based TV film and, indeed, of most TV films, period.
    • 84 Metascore
    • 90 Robert Lloyd
    It is big, beautiful, beautifully acted and romantic, its passions expressed with that particular British reserve that serves only to make them burn brighter.
    • 75 Metascore
    • 90 Robert Lloyd
    Enlightened is to my mind the most interesting and ambitious series of the fall season.
    • 75 Metascore
    • 90 Robert Lloyd
    This may be the better work [than "No Direction Home"], for its depth of feeling and its relatively more forthcoming and knowable subject.
    • 75 Metascore
    • 90 Robert Lloyd
    Notwithstanding a certain stylistic chilliness and my sense of it having been pitched on the back of "Inception," it promised to be one of the year's best and most interesting new series. Having seen four episodes now, I'd say the promise has been largely kept.
    • 90 Metascore
    • 90 Robert Lloyd
    The performances are so wonderful it feels wrong to single any out. But Whishaw finds great power in stillness; Hiddleston fits himself admirably to his character's stages and turns of mind, resolving his coldness with his warmth, his cruelty with his generosity. And there is Beale's Falstaff--marvelously poignant, a scoundrel-hero, getting everything wrong. His sorrow at losing the transformed Hal is as tragic a moment as any here, his fall no less thunderous than Richard's.
    • 86 Metascore
    • 90 Robert Lloyd
    By rooting Top of the Lake in the real, Campion gives her more fanciful inspirations legs, and the mystery--which is, needless to say, not merely or even mostly the mystery of a missing girl--room to breathe. I have no idea where any of it's headed. But I am going along.
    • 77 Metascore
    • 90 Robert Lloyd
    As much as I love what Lewis and Patinkin—as well as Baccarin and Saylor—do here, Danes is what makes Homeland remarkable.